Ova lingo lingo11/19/2023 The food trolley in the prison becomes central to the ruse of transporting Ova where she needs to be. The saz, played hauntingly by one of the inmates, becomes the metaphorical suitcase of music and violence. The painting on the wall next to Yusuf’s bed in the cell, becomes the shared tree, allowing Yusuf and Ova to connect to each other. The Heidi bag that both Ova and the general’s daughter covet is the intermediary between Memo and the military leader. The silver cigarette box that Yusuf gives to Ova encases the dream and the nightmare of his life. Memo becomes a model of a father to all who are incarcerated, his love for Ova and her love for him show the others what really matters: the relationships we have.Īs always with Turkish TV shows, artefacts play a significant role in the development of the storyline. Over time, the prisoners get to see what is important because of Memo. Several men learn how much they love their children, how they can redeem themselves, how Allah forgives (teaching tweaked a little by the lay religious prisoner), how power can be used for good, not just for evil. Over time, and in the cell, new friendships develop. She’s aware that she knows more than him because of his intellectual disability, even though she is only six years old. At another level she plays a childish game with him (Lingo, lingo, siseler, siseler). She in turn, understands him at her own level, with a perception mature for her age. From the back stories we learn that the love between each of the fathers and their respective daughters is deep, enduring and instrumental in how their actions unfold in the film.Firstly, Memo has a simple, untainted and all-consuming love for his little girl, Ova. Father-daughter relationships in Turkish culture are central to many dizis and here this is no different. There is the mentally challenged father Memo and his daughter Ova, the army General Aydan, and his daughter and finally, the prisoner Yusuf and his daughter. There are three father-daughter scenarios that drive the narrative. In the film, human relationships triumph. Miracle in Cell No 7 centers around a father unjustly imprisoned for the death of an army general’s daughter, and his journey to prove his innocence. Beyond our human to human interactions, our lives in our world, and the lives of those in Miracle in Cell no 7, are entangled with the passage of time, the spaces we all dwell in, the natural landscapes that surround us, our pets and other animals, and lastly but not least, the artefacts that make up our lives. These human to human interactions are paramount in our lives.Īnd this message has never been more evident as now in the time of the coronavirus threat to the world.And when human relationships are looked at more deeply, we see that time and space, things and bodies are crucial too to the way our lives unfold. Arguably our greatest joys and our deepest sorrows come from, through and with other people: our loved ones, our children, our friends, our family, our workmates, our leaders, our fellow inmates. The key message of the movie, Miracle in Cell no 7, is that what really matters in our world, what is important, are the relationships between humans – how we speak to each other, how we look at each other, how we understand each other, what we do to each other.
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